Brideshead Revisited
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Movie Reviews of Brideshead Revisited
Movie Review: WAUGH'S GREAT NOVEL FINALLY DONE JUSTICE ON THE BIG SCREEN
Summary: 5 Stars
It's doubly ironic, before being taken over by Disney Miramax under the Weinsteins used to produce wonderful adaptations of British novels. For instance Gwyneth Paltrow was such a definitive "Emma" we've been permanently spared the Keira Knightly cockney version.
But for this debacle there's no one to blame but British filmmakers. Every "Brideshead" fan on both sides of the Atlantic being insulted by the choice and performances of the worst imaginable British cast. After a while one suspected all involved looked at the perfection of the internationally acclaimed Made-for-TV series - and proceeded to do the opposite.
So by way of apologizing for the depths to which these British filmmakers sank this is my review written for and posted on Amazon UK ...
This entire British crew - especially scriptwriters Andrew Davies and Jeremy Brock are to be congratulated for their courage in making so many judicious alterations and omissions to help modern audiences comprehend what Waugh really meant to say in his much-loved but unusually loquacious novel "Brideshead Revisited".
Their most important improvement being to use a montage of flashbacks to let everyone know this was going to be a wholesome love story. And to erase any possible confusion cast an anemic actor as the "arrestingly beautiful" Sebastian thereby eliminating any sexual ambiguities in Waugh's first four chapters when Charles and Sebastian are obsessed with each other and Julia treats his "chum" with undisguised contempt.
Despite the limited time at their disposal the 2 scriptwriters ingeniously fabricated 9 scenes (from their imagination) to spruce-up Waugh's carefully constructed meandering storyline which confined Charles and Julia's maudlin romance to the last quarter of the novel.
But very soon the only fun to be had watching this appalling adaptation came from spotting every non-Waugh moment. This is my checklist from one viewing. Amazon reader may have noted many more.
1)Conversation at Sebastian's get-together when Charles sensitively explains what it means to be an artist before he knew he might become one.
2)Julia doesn't return to London - but accompanies the boys to Venice to gambol in the sand.
3)Julia and Charles are irresistibly attracted after a Venetian Carnival scene (not in the book). Sebastian instantly becomes a dipsomaniac.
4)Lady Marchmain invites Charles to witness the Flytes pray in their RC chapel.
5)Fictitious 21st Birthday Party for Julia - with obligatory elegant dance scene where everyone chats.
6)Lady Marchmain drives to Paddington for a one-on-one with Charles.
7)Charles becomes extremely macho - twice promising to "fix" Rex.
8)Julia overhears Charles purchasing her from Rex in exchange for 2 pictures- causing heartbreak on account of his putting such a cheap price on her head.
9)Dramatic moment when the happy pair's departure for wedded bliss is forestalled by the sudden return of Lord Marchmain to die in England - almost instantaneously.
I'm sure all those involved have reasonable explanations as to why 20 minutes of spurious scenes were added while 4 important characters - Mr. Samgrass. Anthony Blanche, Rex Mottram and Cordelia were reduced to ciphers. And why the audience was left in the dark as to the fate and location of the 3 Flyte children. Perhaps a sequel is in the works? No bets are off after the creativity of "Becoming Jane".
Speaking of Julian Jarrold it seems the challenge of recreating a novel which many consider one of the masterpieces of 20th century English literature turned-out to be a creative burden. Or was it the folk at Buena Vista who asked him to mangle Waugh's plot? But surely he alone instructed Emma Thomson to play Lady Marchmain as a malicious "head-matron" rather than the "flirtatious and feminine" mother Waugh describes? One wonders too why he cast an actor resembling a permanently drunk farm labourer as a noble English aristocrat?
The more important question is how much longer can the British film industry survive if it continues to milk English history and allow second-rate writers to eliminate the last vestiges of English cinematic pride with implausible fabricated period junk every time a Hollywood Production Company requests just one more embarrassing dip into our literary well?
Movie Review: A very intriguing story, well filmed, and well acted
Summary: 5 Stars
This was a magnificent film from the point of view of cinematography. Each episode was beautifully filmed. Some scenes seemed a little too dark, but generally speaking the darkness helped create a sense of drama and tragedy.
Some of the characters seemed almost numb; in places this greatly increased audience awareness of the stultifying nature of the lives of these people and their reality, while with some characters it seemed as though blank expressions were to be taken as "acting," this was especially so of Julia and Charles.
With the character of Sebastian, played by Ben Whishaw, however, the presence was more controlled than wooden. He was the epitome of urbanity, his casual and offhand manner obviously a mask for deeper feelings. With the removal of the mask, the deeper feelings, especially of despair, seemed almost as naked as his appearance in the buff by the fountain or in the bathroom. This created an overall sense of someone so completely on the edge, a suicide seemed eminent. Although it did not occur in the traditional form of bullet to the head or hanging from the rafters, it might be seen as a slow and intentional suicide by alcohol. Certainly this had the greatest effect on his family, especially his mother, which is probably as he intended it, since it gave him some degree of control. As his mother explained to Charles Ryder, Charles drank to get drunk, Sebastian drank to destroy himself. Though she misconstrued his reasons, Charles pointed them out: Sebastian drank to free himself of her. This did not endear Charles to her.
Emma Thompson's portrayal of Lady Marchmain was also expertly controlled. She seemed a mass of conflicting motives; a mother desiring the love of her children, one who sought to keep them safe both in the here and the hereafter by controlling their every thought and action and thereby driving them to despair and withdrawal. She was open-minded about Ryder's class, as many at the time might not have been, but she was unremitting on the issue of his atheism. She was charming, attractive and generous but also arrogant, vindictive, and selfish. One easily saw how she drew others in while exacting a steep price for having done so. One never knew whether to see her as Machiavellian and sinister or hopelessly and helplessly caught up in the web of her class and religion.
The character of Charles Ryder, played by Matthew Goode, seems hardly more than a backdrop to the angst of the other characters, though at times I wondered if he weren't intended to be the "devil" in disquise, tempting the faithful from their miserable path to redemption. It was his woodenness that most intrigued me, since he had less oppressive circumstances and therefore less reason to feel wooden. His relationship with his father, played by Patrick Malahide, seemed a little distant but hardly damaging; his talent was recognized in time, his life was essentially his own. Yet he allows himself to be pulled back into the dysfunctional lives of the Flyte family despite having been burned more than once by their self immolating behaviors. Somehow a house no more comfortable than a museum, no matter how opulent, seems inadequate reason for his involvement with people who are definitely damaged goods, especially since any attempt he made to help them only made them worse. As Sebastian told him on his first visit, if all he wanted was to see all the sights at Brideshead, he'd have been better off buying a ticket and taking a tour. Nothing truer was said. One could almost see a good term paper in the interpretation of the meaning of the house in Brideshead Revisited!
A very intriguing story, well filmed, and well acted.
Movie Review: Succinct Brilliance- better than the famous Granada Television series
Summary: 5 Stars
This new version of 'Brideshead Revisited' captures succinctly, and in many ways, more effectively than the famous Granada Television serial, the wit and melancholy of Evelyn Waugh's book. The Granada serial captured the book faithfully, but one could say, too faithfully for a translation to screen. Amongst all the immense dialogue of this series, one can lose some of the brevity of Evelyn Waugh's wit. It turned a clever and sad book into feeling like an immense tome.
The new film version, captures all the feeling of the original television series, whilst retaining Waugh's wit. You comprehend all of the central tragedies and Christian belief exploration, whilst being able to enjoy the humour which arises from Waugh's characters. This is quite remarkable considering that there is less screen time given to the characters, such as Charles' father (Patrick Malahide) and Lord Marchmain (Michael Gambon). It is as if the producers said to themselves, "Let us get the best actors we can for all roles in this production, so that these characters can be effectively brought to life.". All the actors are wonderful and Michael Gambon and Patrick Malahide are especially impressive in their capturing the essence of their characters, given the time allowed.
The central characters of Charles Ryder, (Matthew Goode) Sebastian Flyte, (Ben Whishaw) Lady Marchmain (Emma Thompson) and Julia Flyte (Hayley Atwell) are beautifully realised. Matthew Goode is a bit like a slightly, more sympathetic version of the same character that Jeremy Irons played in the original. This is not a complaint but just a testament to how well Irons brought to life the character. Ben Whishaw is a stand-out and it is a pleasure to see a more obviously gay and mannered, pathetic Sebastian. He captures so well the fickle nature of the character with a gangly, waifish grace which is a joy to watch. This grace of movement assists in the sorrow we as an audience feel when we see his demise. Emma Thompson is, as always, wonderful as Lady Marchmain. She manages to capture the intimidating impressiveness of Lady Marchmain, whilst making her a character we can sympathise with. Hayley Atwell is incredibly charming and vivacious as Julia Flyte. We can understand her appeal and sympathise completely with her inner struggles.
As with many modern period film productions, the production and cinematography of this film is rich and sumptuous. They filmed the setting of Bridesehead at Castle Howard, a very wise and generous tribute to the original Granada Television series as this estate has become synonymous with the idea of "Brideshead". The soundtrack is superb as well. It perfectly assists as an undercurrent to the film, emotionally elaborating on the story. It is a grand, melancholy, yearning score which even achieves the sense of the sublime.
I would recommend this film to anyone who enjoys a beautifully made period/literary production.If you loved the original, then please give this version a chance. You may find yourself unexpectedly delighted.
Movie Review: Revisiting Brideshead Offers New Insights into Waugh's Novel
Summary: 5 Stars
BRIDESHEAD REVISITED is one of those epic films that travels the globe seeking adventure, finding glorious locations for telling a story, and offers a cast of outstanding actors to reexamine a tale known to most of us through not only the novel by Evelyn Waugh, but also by the very popular miniseries for television years back. For this viewer the experience offered by writers Andrew Davies and Jeremy Brock and as directed with such style by Julian Jarrold offers a far more interesting examination of the damages family can inflict upon children and does so with a story that flows with visual allure and consummate acting from a fine cast.
The tale is well known: middle class young man enters the elegance of the wealthy class, encounters infatuation with money, art, and luxury, dawdles with a same sex infatuation with the spoiled brat of the family only to find love with the brat's sister under the influence of a journey to Venice, and ultimately has to face the realities of class distinction, religious bigotry, and a family history in tatters. WW I and WW II influence the development of the tale and in the end our middle class lad must clearly see the shallow shell that once represented all he could imagine as desirable.
Matthew Goode heads the cast as the lad in question and the Brideshead Marchmain family is played to perfection by Emma Thompson, Michael Gambon, Ben Winshaw, Haley Atwell. The numerous smaller roles are shaped by such fine actors as Greta Scacchi, Felicity Jones, Ed Stoppard, Jonathan Cake, etc. The settings in throughout England, Venice and Morocco are stunning and the creative forces behind the costuming, music, lighting, and photography all deserve kudos. For this viewer this is one of the more satisfying films of the past year. Grady Harp, January 09
Movie Review: A New Experience.
Summary: 5 Stars
Brideshead RevisitedBrideshead Revisited [Region 2]
I was so apprehensive about this film. Having had a long love/hate relationship with the '80s version, I didn't really want to see this one at all, but was prevailed upon by friends to do so.
I am so glad I weakened. An entirely new experience, a thoroughly different approach, and yet so much the same as before; but never offensive or competitive. The producers knew the risks and certainly pulled it off. The same excitement, the same tragedy, the same castle even and not a dull moment. The acting, always superbly sensitive, always that little touch more or less to bring out some small difference.
I did miss the blonde Sebastian, something just a little more convincing in the role of the young aristocrat and just that little more discreet with his display of that tragic weakness - but Lady Marchmaine - a superb script and casting for Emma Thompson. Just that little bit more clarity on the tragic misunderstanding of the fine line between faith and the enshrined culture, which trapped them all.
There are frequent "cadenzas" in both creations - little asides, not in the original text; but perhaps one which sums up a justification for this second attempt is the answer Ryder gives to the Etonians at Sebastian's Oxford luncheon - when asked what the use of art was, when there was photography - that a painting is something which expresses a personal emotion, something a photograph can never do.